A hurried painterly experience is Vilumson’s keynote, where quickly brushed areas grapple and blend. Suffused shadowy pigment is clearly applied in thin palette-knife aggregates. In the best of his works, such as The White Ship, Vilumson blends the simple masses and tones of hulk, dock, and the distant horizon in an inventive variety of blue hues; the effect is pleasant. The Harbor pretends distance through full angled complementary accents from sea to sky—noticed, undigested, passed over, winked-at. Impatient surfaces with something of gusto, something of juggled form and plane, imply a Fauvian inclination needing time to ripen.

—S. C. Schoneberg